Federico Giannini è giornalista, direttore responsabile di Finestre sull'Arte. Nato a Massa nel 1986, si è laureato nel 2010 in Informatica Umanistica all’Università di Pisa. Nel 2009 ha iniziato a lavorare nel settore della comunicazione su web, con particolare riferimento alla comunicazione per i beni culturali. Iscritto all’Ordine Nazionale dei Giornalisti dal 2017, specializzato in arte e storia dell’arte. Nel 2017 ha fondato con Ilaria Baratta la rivista Finestre sull’Arte, iscritta al registro della stampa del Tribunale di Massa dal giugno 2017. Dalla fondazione è direttore responsabile della rivista. Collabora e ha collaborato con diverse riviste, tra cui Art e Dossier e Left. Al suo attivo anche docenze in materia di giornalismo culturale (presso Università di Genova e Ordine dei Giornalisti). Per la televisione è stato autore del documentario Le mani dell’arte (Rai 5) ed è stato tra i presentatori del programma Dorian – L’arte non invecchia (Rai 5). Partecipa regolarmente come relatore e moderatore su temi di arte e cultura a numerosi convegni (tra gli altri: Lu.Bec. Lucca Beni Culturali, Ro.Me Exhibition, Con-Vivere Festival, TTG Travel Experience).
All the articles by Federico Giannini on Finestre sull'Arte
Koen Vanmechelen's purest discovery is a rare form of gaze, a heretical and necessary gaze, which contemplates the past as if it were something that has yet to happen and observes the future as if it were evidence, a testimony, a page of marble, glas...
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The discussion that has arisen around the future of the Borghese Gallery has so far produced an exciting, uplifting laboratory of nothingness, and let it be said in a positive sense, since at the moment it is necessary to fret about everything that i...
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It may provoke mild, amused unease to think that the Villa Borghese painted by Onorato Carlandi is pure invention, a pagan fantasy, the shredding of a dream. It does not exist, that Villa Borghese. There is not the great, sinister, shadowy oak that C...
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Chiara Teolato has been director of Venaria Reale and the Consortium of Royal Savoy Residences since the end of 2024: a year and a half of work under the banner, one might say, of dialogue. Dialogue with the territory, with the public, with European ...
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That a home cannot exist without the verdant complicity of a tree, of a plant, of any plant species is a fact known from the beginning, evidence across cultures, across latitudes, across the entire history of humanity. It is worth, meanwhile, the ide...
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One can challenge anything to this Venice Biennale, except the success of Pietrangelo Buttafuoco's masterpiece of unintentional strategy, repaid by the most fragrant numbers the president could hope for: 10 thousand visitors during the first opening ...
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Roughly the same reasoning that Giuliano Briganti made for Rubens applies to Van Dyck: given the vastness of his catalog, an exhibition entitled simply "Van Dyck" is unfeasible. It matters little whether one attaches to it, as was done for the exhibi...
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But is it the Venice Biennale or a circus? We had not yet finished reading the latest news about the arrival of the inspectors from the Ministry of Culture at Ca' Giustinian, when today comes the communiqué announcing the en bloc resignation of the j...
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